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9: Audio Coding with Mixing Flexibility at the Decoder Side
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9: Audio Coding with Mixing Flexibility at the Decoder Side
by Christof Faller, Jeroen Breebaart
Spatial Audio Processing: MPEG Surround and Other Applications
Cover Page
Title Page
Copyright
Contents
Author Biographies
Foreword
Preface
1: Introduction
1.1 The human auditory system
1.2 Spatial audio reproduction
1.3 Spatial audio coding
1.4 Book outline
2: Background
2.1 Introduction
2.2 Spatial audio playback systems
2.3 Audio coding
2.4 Matrix surround
2.5 Conclusions
3: Spatial Hearing
3.1 Introduction
3.2 Physiology of the human hearing system
3.3 Spatial hearing basics
3.4 Spatial hearing in rooms
3.5 Limitations of the human auditory system
3.6 Source localization in complex listening situations
3.7 Conclusions
4: Spatial Audio Coding
4.1 Introduction
4.2 Related techniques
4.3 Binaural Cue Coding (BCC)
4.4 Coding of Low-frequency Effects (LFE) Audio Channels
4.5 Subjective performance
4.6 Generalization to spatial audio coding
5: Parametric Stereo
5.1 Introduction
5.2 Interaction between core coder and spatial audio coding
5.3 Relation to BCC
5.4 Parametric stereo encoder
5.5 Parametric stereo decoder
5.6 Conclusions
6: MPEG Surround
6.1 Introduction
6.2 Spatial audio coding
6.3 MPEG Surround encoder
6.4 MPEG Surround decoder
6.5 Subjective evaluation
6.6 Conclusions
7: Binaural Cues for a Single Sound Source
7.1 Introduction
7.2 HRTF parameterization
7.3 Sound source position dependencies
7.4 HRTF set dependencies
7.5 Single ITD approximation
7.6 Conclusions
8: Binaural Cues for Multiple Sound Sources
8.1 Introduction
8.2 Binaural parameters
8.3 Binaural parameter analysis
8.4 Binaural parameter synthesis
8.5 Application to MPEG Surround
8.6 Conclusions
9: Audio Coding with Mixing Flexibility at the Decoder Side
9.1 Introduction
9.2 Motivation and details
9.3 Side information
9.4 Using spatial audio decoders as mixers
9.5 Transcoding to MPEG Surround
9.6 Conclusions
10: Multi-loudspeaker Playback of Stereo Signals
10.1 Introduction
10.2 Multi-channel stereo
10.3 Spatial decomposition of stereo signals
10.4 Reproduction using different rendering setups
10.5 Subjective evaluation
10.6 Conclusions
10.7 Acknowledgement
Frequently Used Terms, Abbreviations and Notation
Bibliography
Index
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8.6 Conclusions
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9.1 Introduction
9
Audio Coding with Mixing Flexibility at the Decoder Side
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